Hawthorne. Генри Джеймс

say that the inspiration of such a theme could have had no great force, and such doubtless was the case; but out of the Salem puddles, nevertheless, springs, flower-like, a charming and natural piece of prose.

      I have said that Hawthorne was an observer of small things, and indeed he appears to have thought nothing too trivial to be suggestive. His Note-Books give us the measure of his perception of common and casual things, and of his habit of converting them into memoranda. These Note-Books, by the way—this seems as good a place as any other to say it—are a very singular series of volumes; I doubt whether there is anything exactly corresponding to them in the whole body of literature. They were published—in six volumes, issued at intervals—some years after Hawthorne's death, and no person attempting to write an account of the romancer could afford to regret that they should have been given to the world. There is a point of view from which this may be regretted; but the attitude of the biographer is to desire as many documents as possible. I am thankful, then, as a biographer, for the Note-Books, but I am obliged to confess that, though I have just re-read them carefully, I am still at a loss to perceive how they came to be written—what was Hawthorne's purpose in carrying on for so many years this minute and often trivial chronicle. For a person desiring information about him at any cost, it is valuable; it sheds a vivid light upon his character, his habits, the nature of his mind. But we find ourselves wondering what was its value to Hawthorne himself. It is in a very partial degree a register of impressions, and in a still smaller sense a record of emotions. Outward objects play much the larger part in it; opinions, convictions, ideas pure and simple, are almost absent. He rarely takes his Note-Book into his confidence or commits to its pages any reflections that might be adapted for publicity; the simplest way to describe the tone of these extremely objective journals is to say that they read like a series of very pleasant, though rather dullish and decidedly formal, letters, addressed to himself by a man who, having suspicions that they might be opened in the post, should have determined to insert nothing compromising. They contain much that is too futile for things intended for publicity; whereas, on the other hand, as a receptacle of private impressions and opinions, they are curiously cold and empty. They widen, as I have said, our glimpse of Hawthorne's mind (I do not say that they elevate our estimate of it), but they do so by what they fail to contain, as much as by what we find in them. Our business for the moment, however, is not with the light that they throw upon his intellect, but with the information they offer about his habits and his social circumstances.

      I know not at what age he began to keep a diary; the first entries in the American volumes are of the summer of 1835. There is a phrase in the preface to his novel of Transformation, which must have lingered in the minds of many Americans who have tried to write novels and to lay the scene of them in the western world. "No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land." The perusal of Hawthorne's American Note-Books operates as a practical commentary upon this somewhat ominous text. It does so at least to my own mind; it would be too much perhaps to say that the effect would be the same for the usual English reader. An American reads between the lines—he completes the suggestions—he constructs a picture. I think I am not guilty of any gross injustice in saying that the picture he constructs from Hawthorne's American diaries, though by no means without charms of its own, is not, on the whole, an interesting one. It is characterised by an extraordinary blankness—a curious paleness of colour and paucity of detail. Hawthorne, as I have said, has a large and healthy appetite for detail, and one is therefore the more struck with the lightness of the diet to which his observation was condemned. For myself, as I turn the pages of his journals, I seem to see the image of the crude and simple society in which he lived. I use these epithets, of course, not invidiously, but descriptively; if one desire to enter as closely as possible into Hawthorne's situation, one must endeavour to reproduce his circumstances. We are struck with the large number of elements that were absent from them, and the coldness, the thinness, the blankness, to repeat my epithet, present themselves so vividly that our foremost feeling is that of compassion for a romancer looking for subjects in such a field. It takes so many things, as Hawthorne must have felt later in life, when he made the acquaintance of the denser, richer, warmer-European spectacle—it takes such an accumulation of history and custom, such a complexity of manners and types, to form a fund of suggestion for a novelist. If Hawthorne had been a young Englishman, or a young Frenchman of the same degree of genius, the same cast of mind, the same habits, his consciousness of the world around him would have been a very different affair; however obscure, however reserved, his own personal life, his sense of the life of his fellow-mortals would have been almost infinitely more various. The negative side of the spectacle on which Hawthorne looked out, in his contemplative saunterings and reveries, might, indeed, with a little ingenuity, be made almost ludicrous; one might enumerate the items of high civilization, as it exists in other countries, which are absent from the texture of American life, until it should become a wonder to know what was left. No State, in the European sense of the word, and indeed barely a specific national name. No sovereign, no court, no personal loyalty, no aristocracy, no church, no clergy, no army, no diplomatic service, no country gentlemen, no palaces, no castles, nor manors, nor old country-houses, nor parsonages, nor thatched cottages nor ivied ruins; no cathedrals, nor abbeys, nor little Norman churches; no great Universities nor public schools—no Oxford, nor Eton, nor Harrow; no literature, no novels, no museums, no pictures, no political society, no sporting class—no Epsom nor Ascot! Some such list as that might be drawn up of the absent things in American life—especially in the American life of forty years ago, the effect of which, upon an English or a French imagination, would probably as a general thing be appalling. The natural remark, in the almost lurid light of such an indictment, would be that if these things are left out, everything is left out. The American knows that a good deal remains; what it is that remains—that is his secret, his joke, as one may say. It would be cruel, in this terrible denudation, to deny him the consolation of his national gift, that "American humour" of which of late years we have heard so much.

      But in helping us to measure what remains, our author's Diaries, as I have already intimated, would give comfort rather to persons who might have taken the alarm from the brief sketch I have just attempted of what I have called the negative side of the American social situation, than to those reminding themselves of its fine compensations. Hawthorne's entries are to a great degree accounts of walks in the country, drives in stage-coaches, people he met in taverns. The minuteness of the things that attract his attention and that he deems worthy of being commemorated is frequently extreme, and from this fact we get the impression of a general vacancy in the field of vision. "Sunday evening, going by the jail, the setting sun kindled up the windows most cheerfully; as if there were a bright, comfortable light within its darksome stone wall." "I went yesterday with Monsieur S– to pick raspberries. He fell through an old log-bridge, thrown over a hollow; looking back, only his head and shoulders appeared through the rotten logs and among the bushes.—A shower coming on, the rapid running of a little barefooted boy, coming up unheard, and dashing swiftly past us, and showing us the soles of his naked feet as he ran adown the path and up the opposite side." In another place he devotes a page to a description of a dog whom he saw running round after its tail; in still another he remarks, in a paragraph by itself—"The aromatic odor of peat-smoke, in the sunny autumnal air is very pleasant." The reader says to himself that when a man turned thirty gives a place in his mind—and his inkstand—to such trifles as these, it is because nothing else of superior importance demands admission. Everything in the Notes indicates a simple, democratic, thinly-composed society; there is no evidence of the writer finding himself in any variety or intimacy of relations with any one or with anything. We find a good deal of warrant for believing that if we add that statement of Mr. Lathrop's about his meals being left at the door of his room, to rural rambles of which an impression of the temporary phases of the local apple-crop were the usual, and an encounter with an organ-grinder, or an eccentric dog, the rarer, outcome, we construct a rough image of our author's daily life during the several years that preceded his marriage. He appears to have read a good deal, and that he must have been familiar with the sources of good English we see from his charming, expressive, slightly self-conscious, cultivated, but not too cultivated, style. Yet neither in these early volumes of his Note-Books, nor in the later, is there any mention